Maid to Entertain: Glasgay! at the IETM - Central Station Blog post
Although only two shows overlaps into the IETM, Glasgay!'s theatre programme has been a central fixture on the West Coast's performance calendar for over twenty years. Since the arrival of Steven Thomson in 2004, it has expanded beyond recognition. With a clear foundation in the celebration of LGBTQ arts and culture, it is an exciting example of how a specialist festival need not be contained within a niche audience.
The Maids is one of the few scripts in this year's Glasgay! that has not been commissioned by the festival: October sees new work from local heroes Drew Taylor, Louise Welsh, Rachel Amey and Wendy Miller. It is, however, typical of the Glasgay! approach. Written by Jean Genet, an icon of queer literature, directed by Derek McLuckie, it takes the story of a Parisian scandal of the 1930s as a starting point for a study of power, submission and murder. McLuckie, who wrote and directed a version of Tennessee William's life, Elysian Fields, twists Genet's original further by dragging up the cast.
The history of Glasgay! reveals a stunning growth - in 2004, only 3000 people attended, while over 35000 were registered in 2009 - but also demonstrates the social shifts of the past decades. While Glasgay! has never veered away from the controversial - last year, a transsexual vision of Jesus led to a vigorous debate about censorship and religious sensibilities - it still crosses over into the mainstream: the Theatre Royal, perhaps the most established of Glasgow's theatres, regularly offers a couple of performances as part of the programme. And, like the IETM, Glasgay! has alliances with most of the city's theatres.
McLuckie is a fine representative of Glasgay!: despite a strong kitsch aesthetic, he incorporates an idiosyncratic spirituality into his melodramas. Glasgay! itself has a peculiar Glaswegian sensibility, both mainstream and alternative, inclusive and provocative. It is perchance more than a coincidence that Thomson himself is a former colleague of another Glasgow legend, Nikki Millican - as is Steve Slater of the IETM. The enthusiasm they both show for radical experimental performance, while firmly believing in its ultimate accessibility, mirrors a broader West Coast trend, expressed as clearly in venues like The Tron and The Arches. This is a considerable factor in the ease of collaboration between venues, companies and festival programming.
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Wednesday, 6 October 2010
Wednesday, 29 September 2010
Glasgay! 2010 | The Skinny
Glasgay! 2010 The Skinny
Glasgay! 2010
Posted by Margaret Kirk, Wed 29 Sep 2010
Throughout its history, Glasgay! has been an important season for Glasgow performance
Seeming to follow a highly idiosyncratic path, often ignoring other West Coast trends, Glasgay! has consistently supported the younger generation of Scottish artists, and connected with established companies for a programme that is the envy of larger festivals.
Both Drew Taylor and Wendy Millar have received ongoing support: after last year’s Even In Another Time (a trilogy of witty and trenchant sketches), Millar returns with The Bridge, a look at the difficult transition into adulthood. Cryptic, another veteran company, offer an adaptation of Orlando, Virginia Woolf’s gender-switching saga of an immortal being’s search for life and a lover.
This year, the focus on local artists has increased: James Ley’s UP makes a welcome return to grapple with issues of sexuality and psychiatry, and the author of last year’s Maw Broon Monologues, Jackie Kay, hits back with a reading from her memoires, accompanied by vocalist Suzanne Bonnar. Cabaret arrives courtesy of Gram Cumming – his Head Over Heels combines comedy, drag and musical theatre, while spoken word outfit Confab offer Gracie Flair, and guests, getting political and poetical.
Another distinctive characteristic of Glasgay! is its consistent attempt to go beyond simple categories: as in past years, it presents events for a variety of ages, and across the spectrum of performance. Even the King’s Theatre gets involved, with the Glee-inspired Don’t Stop Believing and another visit from The Rocky Horror Show.
Despite a clear commitment to queer politics and work, Glasgay! is never exclusive: while it is unlikely that anyone would follow the entire performance programme, there is consciously something for everyone: how much of the King’s audience even realises that the November events are part of a radical queer celebration?
Glasgay! 2010
Posted by Margaret Kirk, Wed 29 Sep 2010
Throughout its history, Glasgay! has been an important season for Glasgow performance
Seeming to follow a highly idiosyncratic path, often ignoring other West Coast trends, Glasgay! has consistently supported the younger generation of Scottish artists, and connected with established companies for a programme that is the envy of larger festivals.
Both Drew Taylor and Wendy Millar have received ongoing support: after last year’s Even In Another Time (a trilogy of witty and trenchant sketches), Millar returns with The Bridge, a look at the difficult transition into adulthood. Cryptic, another veteran company, offer an adaptation of Orlando, Virginia Woolf’s gender-switching saga of an immortal being’s search for life and a lover.
This year, the focus on local artists has increased: James Ley’s UP makes a welcome return to grapple with issues of sexuality and psychiatry, and the author of last year’s Maw Broon Monologues, Jackie Kay, hits back with a reading from her memoires, accompanied by vocalist Suzanne Bonnar. Cabaret arrives courtesy of Gram Cumming – his Head Over Heels combines comedy, drag and musical theatre, while spoken word outfit Confab offer Gracie Flair, and guests, getting political and poetical.
Another distinctive characteristic of Glasgay! is its consistent attempt to go beyond simple categories: as in past years, it presents events for a variety of ages, and across the spectrum of performance. Even the King’s Theatre gets involved, with the Glee-inspired Don’t Stop Believing and another visit from The Rocky Horror Show.
Despite a clear commitment to queer politics and work, Glasgay! is never exclusive: while it is unlikely that anyone would follow the entire performance programme, there is consciously something for everyone: how much of the King’s audience even realises that the November events are part of a radical queer celebration?
Tuesday, 21 September 2010
Glasgay! 2010 | VisitScotland Autumn
Glasgay! 2010 VisitScotland Autumn
Glasgay!
14 October - 13 November 2010
Running from mid-October to mid-November, venues across Scotland’s most stylish city will fling open their doors to host an exciting variety of events as part of Glasgay!, Scotland's annual celebration of queer culture.
The programme for 2010 is brimming with high profile international and UK artists and a wealth of emerging talent spanning comedy, music, film, theatre, visual art, performance art, literature, club nights, education events and community arts projects.
Glasgay! is renowned for its ability to appeal to a broad audience, blending edgy and educational social commentary with irrepressible creative energy. From colourful cabaret to thought-provoking theatre and from laugh-out-loud comedy to an eclectic array of films and The Big Loud and Proud Ceilidh, expect top-notch entertainment wherever you turn from this welcoming and much-loved festival. Come and celebrate in style in Glasgow!
For more information, visit http://www.glasgay.co.uk. or contact the Festival office T: 0141 552 7575 or 7578
Glasgay!
14 October - 13 November 2010
Running from mid-October to mid-November, venues across Scotland’s most stylish city will fling open their doors to host an exciting variety of events as part of Glasgay!, Scotland's annual celebration of queer culture.
The programme for 2010 is brimming with high profile international and UK artists and a wealth of emerging talent spanning comedy, music, film, theatre, visual art, performance art, literature, club nights, education events and community arts projects.
Glasgay! is renowned for its ability to appeal to a broad audience, blending edgy and educational social commentary with irrepressible creative energy. From colourful cabaret to thought-provoking theatre and from laugh-out-loud comedy to an eclectic array of films and The Big Loud and Proud Ceilidh, expect top-notch entertainment wherever you turn from this welcoming and much-loved festival. Come and celebrate in style in Glasgow!
For more information, visit http://www.glasgay.co.uk. or contact the Festival office T: 0141 552 7575 or 7578
Tuesday, 31 August 2010
This year’s Glasgay! programme announced - PinkPaper.com
This year’s Glasgay! programme announced - PinkPaper.com
Andrew Gonsalves and Helen Stuart
news.PinkPaper.comTuesday, 31 August 2010
Glasgay! Scotland’s foremost annual celebration of queer culture starts in October. The festival features a broad spectrum of artistic offerings, including two principal commissions, Panic Patterns and The Bridge, examining social breakdown and self harm respectively.
The stage programme also includes the Rocky Horror Show and Glee tribute Don’t Stop Believin’ as well as performances dealing with more serious subject matter including mental illness and murder.
Don't miss Jean Genet’s THE MAIDS (pictured), in which an all-male cast examine class war in a red channel gown, inspired by a brutal murder case involving two sisters that shocked 1930s France.
There are also a number of films and documentaries that take a look at gender variants, lonesome singles and young noblemen. They will also be screening of the Sigourney Weaver film Prayers for Bobby, which deals with the suicide of a mother's gay teenage son and her battle with faith and dogma.
Theatre fans can also look forward to James Ley’s show UP, a sharp look at the reality of life in psychiatric care with a healthy dose of gallows humour and hit show BETTE/CAVETT, which recreates the meeting between Bette Davis and talk show host Dick Cavett in 1971.
The organisers of the festival have also announced a series of talks and debates entitled Queers & Answers, tackling a number of topics. The Q&A series is to be delivered with a number of different partners, including Unison and LGBT Youth Scotland.
The festival has announced a Clubs Programme, featuring homegrown talent as well as The Shondes, a NYC band playing an exclusive one-off gig featuring tracks from their album “My Dear One.”
Glasgay runs from 14 October – 13 November.
Andrew Gonsalves and Helen Stuart
news.PinkPaper.comTuesday, 31 August 2010
Glasgay! Scotland’s foremost annual celebration of queer culture starts in October. The festival features a broad spectrum of artistic offerings, including two principal commissions, Panic Patterns and The Bridge, examining social breakdown and self harm respectively.
The stage programme also includes the Rocky Horror Show and Glee tribute Don’t Stop Believin’ as well as performances dealing with more serious subject matter including mental illness and murder.
Don't miss Jean Genet’s THE MAIDS (pictured), in which an all-male cast examine class war in a red channel gown, inspired by a brutal murder case involving two sisters that shocked 1930s France.
There are also a number of films and documentaries that take a look at gender variants, lonesome singles and young noblemen. They will also be screening of the Sigourney Weaver film Prayers for Bobby, which deals with the suicide of a mother's gay teenage son and her battle with faith and dogma.
Theatre fans can also look forward to James Ley’s show UP, a sharp look at the reality of life in psychiatric care with a healthy dose of gallows humour and hit show BETTE/CAVETT, which recreates the meeting between Bette Davis and talk show host Dick Cavett in 1971.
The organisers of the festival have also announced a series of talks and debates entitled Queers & Answers, tackling a number of topics. The Q&A series is to be delivered with a number of different partners, including Unison and LGBT Youth Scotland.
The festival has announced a Clubs Programme, featuring homegrown talent as well as The Shondes, a NYC band playing an exclusive one-off gig featuring tracks from their album “My Dear One.”
Glasgay runs from 14 October – 13 November.
Wednesday, 2 June 2010
Saturday, 6 March 2010
The Poetry Society (The Ted Hughes Award for New Work in Poetry )
The Poetry Society (The Ted Hughes Award for New Work in Poetry )
The Ted Hughes Award for New Work in Poetry
--SHORTLIST ANNOUNCED--
The Ted Hughes Award for New Work in Poetry seeks to recognise excellence in poetry, highlighting outstanding contributions made by poets to our cultural life.
Judges Imtiaz Dharker, Tim Supple and Jo Shapcott have shortlisted the following seven works from over fifty nominations made by Poetry Society and Poetry Book Society members:
Jackie Kay for Maw Broon Monologues (performed at the Tron Theatre in Glasgow). A full-length performance combining rhythmic verse, music and theatre.
Dannie Abse for New Selected Poems 1949-2009: Anniversary Collection (published by Hutchinson 2009). A celebration of the 60th anniversary of Dannie Abse’s first collection After Every Green Thing.
Paul Farley for Field Recordings: BBC Poems (1998-2008) (published by Donut Press 2009). This work brings together Farley’s broadcast poetry for the BBC over a ten-year period.
John Glenday for Grain (published by Picador 2009). Fourteen years in the making Grain is at times delicately lyrical and at times playful or surreal.
Alice Oswald for Weeds and Wild Flowers (published by Faber and Faber 2009). This is a magical meeting of the visionary poems of Alice Oswald and the darkly beautiful etchings of Jessica Greenman.
Chris Agee for Next To Nothing (published by Salt Publishing 2009). Next to Nothing records the years following the death of a beloved child in 2001.
Andrew Motion for The Cinder Path (published by Faber and Faber 2009). Motion’s collection offers a spectrum of lyrics, love poems and elegies all exploring how people cope with threats to and in the world around them.
The winner will be announced at a prize giving ceremony in London on the 30 March.
The Ted Hughes Award for New Work in Poetry
--SHORTLIST ANNOUNCED--
The Ted Hughes Award for New Work in Poetry seeks to recognise excellence in poetry, highlighting outstanding contributions made by poets to our cultural life.
Judges Imtiaz Dharker, Tim Supple and Jo Shapcott have shortlisted the following seven works from over fifty nominations made by Poetry Society and Poetry Book Society members:
Jackie Kay for Maw Broon Monologues (performed at the Tron Theatre in Glasgow). A full-length performance combining rhythmic verse, music and theatre.
Dannie Abse for New Selected Poems 1949-2009: Anniversary Collection (published by Hutchinson 2009). A celebration of the 60th anniversary of Dannie Abse’s first collection After Every Green Thing.
Paul Farley for Field Recordings: BBC Poems (1998-2008) (published by Donut Press 2009). This work brings together Farley’s broadcast poetry for the BBC over a ten-year period.
John Glenday for Grain (published by Picador 2009). Fourteen years in the making Grain is at times delicately lyrical and at times playful or surreal.
Alice Oswald for Weeds and Wild Flowers (published by Faber and Faber 2009). This is a magical meeting of the visionary poems of Alice Oswald and the darkly beautiful etchings of Jessica Greenman.
Chris Agee for Next To Nothing (published by Salt Publishing 2009). Next to Nothing records the years following the death of a beloved child in 2001.
Andrew Motion for The Cinder Path (published by Faber and Faber 2009). Motion’s collection offers a spectrum of lyrics, love poems and elegies all exploring how people cope with threats to and in the world around them.
The winner will be announced at a prize giving ceremony in London on the 30 March.
Friday, 8 January 2010
2010 preview: Great expectations | The List
2010 preview: Great expectations | The List: "FESTIVAL
Watching the creative sparks fly in Glasgay!
The increasingly popular festival is turning into an artistic match-maker, pairing off writers and asking them to reflect on relationships. Among the couples under commission are novelists Louise Welsh and Zoe Strachan who are writing a play about two women at large in a post-apocalyptic landscape. Expect creative sparks to fly.
Glasgow, 7 October–7 November."
Watching the creative sparks fly in Glasgay!
The increasingly popular festival is turning into an artistic match-maker, pairing off writers and asking them to reflect on relationships. Among the couples under commission are novelists Louise Welsh and Zoe Strachan who are writing a play about two women at large in a post-apocalyptic landscape. Expect creative sparks to fly.
Glasgow, 7 October–7 November."
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